Aditya Roy Kapur Quotes

Once readers and industry professionals have you pegged down as writing a particular type of book, they are less likely to try something new from you if they decided they didn't like the first one.

You get an image in the first couple of years of your career, and then whether you like it or not, you are stuck with it for the rest of your life.

In your career, you must be so careful; otherwise, you get caught in a particular image, and it's hard to break.

Casting directors now just see me as the hard-core sniper or prison guard.

Typecasting is a good thing. It's good to be known for what you do.

Directors, like actors, get typecast. And because I've had great success with comedy and horror and TV shows, that's basically what I'm kind of offered.

I have been typecast in my career, although the type changes with the decades.

I don't subscribe to the thinking that being typecast is a bad thing.

You spend most of your time as a director trying to move forward with the movie. It happens on a daily basis, if not more than once a day, that you are struggling with budgetary constraints. Whereas when you're writing, the limitation that you have is your imagination. So it's decidedly non-pragmatic.

Oh! this opponent, this collaborator against his will, whose notion of Beauty always differs from yours and whose means (strength, imagination, technique) are often too limited to help you effectively! What torment, to have your thinking and your phantasy tied down by another person!

I was so tired of the parts I had to play. There seems little for me in Hollywood, because, rather than real Chinese, producers prefer Hungarians, Mexicans, American Indians for Chinese roles.

I didn't get the Russian Jew part because they didn't think I looked Russian or Jewish enough - and, mind you, I am both Russian and Jewish - so I was cast as the racist Mexican.

What's interesting is that producers, directors and writers tend to typecast me in terms of whatever movie they've seen me in most recently.

I think there is this thing where people are impressed - it gives you a leg up in the sense that people won't treat you like a run-of-the-mill actress. They'll assign "smart" to your word bank, your adjective bank.

I tend to land roles that are somewhat villainous for some reason. Usually, people blame it on the accent.

I think that limitations are the most important part of any art form

Hardly any filmmakers can just make anything they want. Obviously, there are some exceptions, like Steven Spielberg, but he has that mainstream mentality and the kinds of films he loves to make are the kind that appeal to this big, mass audience.

I don't enjoy the work that I do. It's just that it's not self-sustaining anymore. The way that I like to make records - they're expensive records to make and just can't afford to do it anymore.

In Hollywood, you tend to get pigeonholed to certain genres, and then when you try to do something different, it's not always so easy. Obviously, you don't want to keep repeating yourself, all the time. So, it's a constant struggle for every filmmaker and actor to find something that you can really feel passionate about. It's a profession like anything else.

In Bergman's world I represented a sort of intellectual, skeptical, ironic person, rather cold and frustrated. When I went abroad and made films in Italy and other places, I was used in different ways. I was rather often cast as crazy people, maniacs. It was very good for me and it was fun because it is nice to play crazy people if you are not in reality. And I think perhaps that changed how Ingmar saw me. Suddenly I was on the more magical side of his world, playing the people with fantasies, variety, the artists.

I am trying my hardest to stay away from the horror movies just because I feel like people are thinking that's what I do, that I'm a scream queen. I'd like to stay away from that.

I was played the villain so much because I was bigger and stronger than most, and they cast me as the villain everywhere I went.

I had read the criticisms of me and my movies and they were discerning. They said that Crawford needs a new deal, and they asked if I was doomed to explore forever the emotional misfortunes of the super-sexed modern young woman. And so, to break away from the pattern, I wanted to do "The Gorgeous Hussy". Selznick laughed at me. 'You can't do a costume picture. You're too modern.' But I begged and begged and begged, and so they let me do it. I was totally miscast.

It's impossible to represent a saint [in Art]. It becomes boring. Perhaps because he is, like the Saturday Evening Post people, inthe position of having almost infinitely free will.

Directors, like actors, get typecast.